Archives par mot-clé : Creativity

Michaël Stora, Nathalie Enkelaar: (a)social networks and identity construction interview with Michaël Stora

N. Enkelaar interviews M. Stora, specialist of virtual worlds, about the role social networks in identity construction, using as a starting point the book Réseaux (a)sociaux, published in 2021. This leads to a dialogue about the ideals conveyed by these networks, their paradoxes and the way in which they encounter adolescent issues. Social networks serve as both a support and a prison for the adolescent in the making, and their many facets are explored here.

Adolescence, 2022, 40, 2, 259-269.

Free planets for adolescents

This article, as an extension of D. W. Winnicott’s theory of the environment, analyzes in our hypermodernity the opposition between individual and collective expressions of the antisocial tendency, the two central aspects of which are busyness and the destruction of nature. We will thus show how the process of adolescent subjectivation requires one to survive a lost planet by creating free planets. An account of a clinical case will illustrate our ideas.

Adolescence, 2021, 39, 1, 187-198.

Isabelle Blondiaux: the quest for meaning and creativity in adolescence

Both the quest for meaning and creativity are amplified in adolescence. If meaning is a quest, what path leads to it? Is creativity a way to attain it? Should access to meaning be legitimately considered an essential aim of therapy (defined as a technique for establishing or restoring the normality)? If so, is it reasonable to conceive of creativity as a discipline that is essential for mobilizing adolescents and their caregivers?

Adolescence, 2020, 38, 2, 405-421.

Pascale Baligand: Writing and adolescent sensoriality: Virginia Woolf’s the waves.

In this article, the author uses Virginia Woolf’s novel The Waves to explore the place of sensoriality in adolescence. By putting into perspective the particular qualities of Virgina Woolf’s writing, which has been characterized as sensorial, the article will try to shed light on the links between sensoriality, continuity of being, and the redeployments of identification and subjectivation of loss in adolescence, especially as seen in the relations between the protagonists and the key character of Perceval.

Adolescence, 2016, 34, 3, 651-661.

Anne Boisseuil: disgust in adolescence, a creative process?

This article will study disgust expressed by the adolescent girl as an expression of creative subjective movements. We will study its evolution in the therapeutic process. Disgust will be a way of understanding the interweaving of drives in this young girl. Disgust will be examined from the perspective of its archaic and genitalized links.

Adolescence, 2015, 33, 2, 367-381.

Christine Mazars: the field of the voice in “slam poetry”

Slam is a new poetic art form involving performance that has been taken up by young people. This poetry-performance responds to the need for narcissistic support and the conquest of new spaces in adolescence, when the field of language is invested as a breaking away from the mother tongue and the normative tongue. It enables young people to confront otherness by sublimating their aggressive drives through the common esthetic object they identify with and in which they exercise their creativity.

Adolescence, 2014, 32, 4, 771-786.

Philippe Jeammet: the sensorial: an antidote for emotions

The context of the process of adolescence is paradox. The subject is confronted in a particularly intense way with the effects of dependence and the requirement of autonomy. This tension causes a resurgence of emotions that the subject must deal with, and the quest for sensation may be one way of coping. The reflective consciousness will be crucial in shielding the subject from the consequences of a destructive polarization.

Adolescence, 2014, 32, 4, 695-703.


La escritura de V. Woolf, atestigua de un combate íntimo y radical de lo femenino que aquí nos interesa como Para V. Woolf, en To the Lighthouse, lo femenino maternal, es la voz de la madre que ella perdió a los umbrales de su adolescencia. La reminiscencia de las palabras pronunciadas, la escucha hacia un estado de lenguaje que pretende y que presupone la representación inconsciente a la imagen de un ritmo primordial hacia un inconsciente del lenguaje, es reivindicada a lo extremo y provee la tensión y la musicalidad de la escritura. En el presente texto, se trata de la voz de la madre, del rastro mnésico de una reminiscencia sonora que constituye el movimiento de la escritura mostrándonos el escenario de base maternal y ecolalica que aquella del intercambio de lenguaje.algo inseparable de su actividad de escucha, de escritora y de la niña investigadora que ella era y de los lugares engendrados por ella en la palabra así sea fragmentada.


This article proposes a discussion of the creative process in Camille Claudel (1864-1943) and the complex interaction between her art work and time. First, the author stresses the particular sensibility of the artist for time. Second, eight art pieces are presented and analyzed in their specific bond to time.

Thomas Gaon : video games, the future of an illusion

The technology of the virtual produces an area of illusion that is more and more captivating and engaging for adolescents faced with a reality that is sometimes experienced with anxiety. Video games are the royal road into this parallel domain, particularly through its implications for creativity, sublimation and identity. They play out the fantasy in an interactive form that combines activity and passivity. In adolescence, the incarnation of the heroes of video games based on the infantile heroic identification in its narcissistic dimension (ideal ego) would help to compensate for the loss of parental objects. But, the positive and subjectivating contribution of virtual identity depends on the permeability of this ludic sphere. The richness of the exchange between internal and external realities within this transitional area hinges on the real and reflexive presence of the other, so that the circuit of instances in play can be operative.